DOCSLIB.ORG

Halseyd1207.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Halseyd1207.Pdf THE “D” Detroit in the New Millennium Contemplating a Post-Post-Modern City by Douglas William Halsey of the requirements for the degree of Master of Architecture in Architecture MONTANA STATE UNIVERSITY Bozeman, Montana November 2007 ©Copyright by Douglas William Halsey 2007 All Rights Reserved ii APPROVAL of a thesis submitted by Douglas William Halsey This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage format, citations, bibliographic style, and consistency, and is ready for submission to the Division of Graduate Education. Christopher Livingston, Committee Chair Approved for the Department of Architecture Steven Juroszek Approved for the Division of Graduate Education Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis inpartial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Douglas William Halsey November 2007 iv TABLE OF CONTENTS Pre-Automotive History_________________ 01 The Modern__________________________ 05 The Post-Modern______________________ 13 The Post-Post-Modern_________________ 29 Programming_________________________ 41 Site Analysis Aerotropolis_________________ 43 Site Analysis Airport____________________ 46 Site Analysis Packard #10_________________ 49 Site Analysis : Zoning_____________________53 Neighborhood Analysis___________________57 Climate Analysis________________________65 Bibliography__________________________ 66 Endnotes_____________________________70 Image Appendix________________________75 v INTRODUCTION “Detroit will resolve into one of the greatest “The Motor City.” industrial is- lands on Earth. “Motown.” With immense supplies of iron “The Automotive Capital of the World.” and copper to the north, coal The connection between Detroit and the American automobile industry is indisput-to the south, able. Perhaps no other city in the world is as connected with a single industry as Detroithe Detroitt. For seventy years Detroit enjoyed the prosperity that the booming auto industry created.River in front Between 1900 and 1950 the Detroit population swelled from 285,700 to nearly two andmillion. canals on either end, the By 2000 that number had fallen to less than a million. city cannot miss.” -E.B. Ward, has created a modern shrinking city. The gradual decline has created a ghost town ofearly sort Detroits, with much of its building stock deserted and awaiting demolition. Crime plagues theindustrialist, city; poverty and illiteracy are common. Civil War era Chrysler, Ford, and General Motors, the “Big Three,” as they are known, are each facing desperate times. Their future is unclear. What is becoming apparent however is the demise of the production industry itself. The prospect of Detroit as an automobile producer Motor City is no more. The emerging nickname is the “D.” What does the future hold for the “D?” PRE-AUTOMOBILE HISTORY The Great Lakes region of central North America was formed over the millennia by repeated glaciations moving down from the north and then receding. Eleven thousand years ago, the last ice age ended which opened up the great lakes area for human settlement. Nomadic peoples developed villages in what is now southeastern Michigan. Tribes and clans rose and fell leaving traces of their existence along the con- ans saw the area, the Iroquois Tribe was in control. French fur traders moved through the region for forty years before Antoine de la Mothe Cadillac establishes a fort on “le Detroit” or “the strait” of a river linking ment struggled with Indian skirmishes and lack of interest from new set- tlers. French style ribbon farms extend north and south from the river allowing each farmer access to the water. The names of the farmers will someday grace the streets of a modern city; Beubien, St. Aubien, Chene. The British took control of het fort in 1763 after the Treaty of Paris was signed. For thirty three years they ruled the city, building a new fort but little else. The United States claimed the city in 1796. In 1805, Detroit burned to the ground. The city motto is written, “Speramus meliora; resurget cineribus” or, “We hope for better days; it shall rise again from its ashes.”1 1 Satellite imagery of Michigan and the Great Lakes Region. 1763 Map of French Settlement and Original Fort 2 Judge Augustus Woodward, inspired by the plan for Washingto n D.C. proposes a radial street plan for the new city. A series o f “circuses” were joined by radiating spokes. Today Woodward, Michigan, Fort, Grand River, Jef- ferson, and Gratiot are part o f the original plan. The hear t of the city is created at their intersection at Campu s Martius and Grand Circus. Woodward’s plan was halted in 1823 when the Ju dge was reappointed to Florida from Michigan “History is more by President James Monroe. 2 Later street developments fo llowed a more or less the bunk. We want to live typical Jeffersonian grid plan compromised by the old layout . Woodward’s plan in the present intended to focus downtown, bu t by the latter half of the tw entieth century the and the only history that is attention had shifted outwards to the suburbs. worth a tinker’s damn is the his- tory we make From 1837 until 1847 Detroitserved as the Capital of the n ewly today.” formed state of Michigan. 3 The University of Michigan w as established at the -Henry Ford same time.4 Soon the capital would move to Lansing, and the University to Ann Chicago Tribune 1916 revolution of 1850 established Detroit as a manufacturing an d shipping area. Its strategic location on the Detr oit River established it as a shipping center. The population of the city surged to over 26,000 making it the 2 3rd largest city in the U.S.5 In the 1890’s a young engineer with the Edison Illumination Company, Henry Ford, began designing fo ur wheeled self-propelled vehi cles he named the “quadricycle.”6 to the formation of the Detroi t Automobile Company. Soon ho wever, disputes within the Board of Directors led Ford to start a new compan y he simply titled the Ford Motor Company. 7 1896 Henry Ford designed “Quadricycle” 3 Judge Augustus Woodward’s Original Plan for Detroit. The plan as seen at Grand Circus and Campus Martius 4 THE FIRST 50 YEARS OF THE AUTOMOBILE : THE MODERN Henry Ford realized, that inorder to stand out in the sea of auto makers in Detroit, he would have to reach a mass audience. Taking the to the States modern notion of the machine, Ford enacted a plan to revolutionize the in 1924...two things stagger entire process of manufacturing. Through mass production techniques, my imagination: Buffalo’s grain elevators and bring the automobile to the masses. In 1910 Ford opened the Highland Albert Kahn in Park plant8 designed by Albert Kahn. Kahn had already made a name for Detroit.” himself during the previous decade with The Packard Motor Car Com- -Erich Mendelsohn 9 The increased plant. Ford exploited this system to great effect in Highland Park mak- a larger plant within ten years. The River Rouge plant, also designed by “the most Albert Kahn came to epitomize the modern condition. Here on a one thousand acre site, Ford and Kahn’s vision came to its zenith. Production monument in America” assembly lines were built into massive single story structures enhancing -Vanity Fair describing the River Rouge task of glass manufacturing with raised roofs over the kilns to dissipate Plant 1928 heat. Massive louvered windows carried heat away from the workers. A light steel frame system minimized columns and reduced costs. This movement of Le Corbusier and Mies van der Rohe. Albert Kahn’s work was referred to by both modern masters.10 1915 Ford Model T 5 Henry Ford and unknown man driving Model N at Highland Park Plant Highland Park Plant today 6 In the 1920’s Detroit had arrived as the modern industrial city. Henry Ford was revolutionizing production and society. Fordism, as “The belief that an industrial it became known, involves the mass production and consumption of country must goods. Ford envisioned a system in which well paid employees became concentrate its industry is, consumers of their own products, thereby expanding the market. He in my opinion, believed in a decentralizing industry to enhance production by the terms unfounded. That is only an inter- of the market. While Henry Ford was grounded in Dearborn, he had mediate phase farther reaching plans for his company. He built plants overseas and in the develop- ment. Industry helped to develop the foreign auto market. He was in many ways a pio- will decentralize neer of modern globalism, the system that ultimately would help lead to itself. If the city were to the demise of Detroit. decline, no one would rebuild it according Henry Ford employed a vertically integrated system at Ford to its present Motor Company; incorporating mills, mines, shipping, rail lines and em- plan. That alone discloses our ployee housing. Henry Ford had complete control over his operations, a own judgement lesson learned while struggling with the Detroit Automobile Company. on our cities.” -Henry Ford 11 Wages were among the best in the nation with Henry Ford’s “$5 a day” system.12 Workers, including in the auto industry. With the arrival of new immigrants came new culture. Hast- ings Street on the east side between Warren and Gratiot became the heart of the black culture.
Load more

Recommended publications
  • Remembering Robert Venturi, a Modern Mannerist
    The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966).
    [Show full text]
  • From Lasvegas
    .c .~ OJ ~ ~ <Il ~ u [) o >­ --~----- -- r t'11 >­ ~ ,....z z o "'!j ~ ~ r >­C/l <: M Copyright ©1977, 1972 by ~ The Massachusetts Institute of Technology C/l Originally published as Learning from Las Vegas <: All rights reserved. No part of this book may be reproduced in any form or by any means, eke­ i1> tronic or mechanical, including photocopying, recording, or by any information storage and re­ ::l LEARNING trieval system, without permission in writing from the publisher. =.2 V! 8 >: b:I Library of Congress Cataloging in Publication Data 3 ,>. Venturi, Robert. ::l FROM Learning from Las Vegas. ,... N i1> Bibliography: p. ::l o 1. Architecture-Nevada-Las Vegas. 2. Symbolism in architecture. I. SCOtt Brown, Denise, C.., 1931- ,joint author. II. Izenour, Steven, joint author. III. Tide. NA735.L3V4 1977 720'.9793'13 77-1917 ISBN 0·262·72006-X (paperback) LAS VEGAS 20 Revised Edition 11111\1. Robert Venturi Denise Scott Brown Steven Izenour OJ ,­ J::"' (l) -l-J 01: ..... u Ql " ~ 4 LEARNING FROM LAS VEGAS THE ARCHITECTURE OF THE STRIP 35 lot required along the Strip because interaction is by car and highway. distances between buildings; because they are far apart, they can be {ou drive from one casino to another even when they are adjacent be­ comprehended at high speeds. Front footage on the Strip has not yet ause of the distance between them, and an intervening service station reached the value it once had on Main Street, and parking is still an ap­ ; not disagreeable. propriate filler. Big space between buildings is characteristic of the Strip.
    [Show full text]
  • NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents
    NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents 1 Message from the Chair The National Building Museum explores the world and the Executive Director we build for ourselves—from our homes, skyscrapers and public buildings to our parks, bridges and cities. 2 Exhibitions Through exhibitions, education programs and publications, the Museum seeks to educate the 12 Education public about American achievements in architecture, design, engineering, urban planning, and construction. 20 Museum Services The Museum is supported by contributions from 22 Development individuals, corporations, foundations, associations, and public agencies. The federal government oversees and maintains the Museum’s historic building. 24 Contributors 30 Financial Report 34 Volunteers and Staff cover / Looking Skyward in Atrium, Hyatt Regency Atlanta, Georgia, John Portman, 1967. Photograph by Michael Portman. Courtesy John Portman & Associates. From Up, Down, Across. NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 The 2003 Festival of the Building Arts drew the largest crowd for any single event in Museum history, with nearly 6,000 people coming to enjoy the free demonstrations “The National Building Museum is one of the and hands-on activities. (For more information on the festival, see most strikingly designed spaces in the District. page 16.) Photo by Liz Roll But it has a lot more to offer than nice sightlines. The Museum also offers hundreds of educational programs and lectures for all ages.” —Atlanta Business Chronicle, October 4, 2002 MESSAGE FROM THE CHAIR AND THE EXECUTIVE DIRECTOR responsibility they are taking in creating environmentally-friendly places. Other lecture programs, including a panel discus- sion with I.M. Pei and Leslie Robertson, appealed to diverse audiences.
    [Show full text]
  • Blueprintsvolume XXVII, No
    blueprintsVolume XXVII, No. 1–2 NATIONAL BUILDING MUSEUM In Between: The Other Pieces of the Green Puzzle in this issue: HEALTHY Communities, GREEN Communities Word s ,Word s ,Word s Winter & Spring 2008/2009 The Lay of the Landscape Annual Report 2008 in this issue... 2 8 13 18 19 21 23 In Between: The Other Pieces of the Green Puzzle The exhibition Green Community calls attention to important aspects of sustainable design and planning that are sometimes overshadowed by eye-catching works of architecture. The environmental implications of transportation systems, public services, recreational spaces, and other elements of infrastructure must be carefully considered in order to create responsible and livable communities. This issue of Blueprints focuses on the broad environmental imperative from the standpoints of public health, urban and town planning, and landscape architecture. Contents Healthy Communities, ! 2 Green Communities M Cardboard Reinvented Physician Howard Frumkin, of the Centers for Disease Cardboard: one person’s trash is another Control and Prevention, brings his diverse expertise as B an internist, an environmental and occupational health N person’s decorative sculpture, pen and pencil expert, and an epidemiologist to bear on the public health holder, vase, bowl, photo and business card holder, above: Beaverton Round, in suburban Portland, Oregon, was built as part of the metropolitan area’s Transit-Oriented Development Program. implications of community design and planning. p Photo courtesy of the American Planning Association and Portland Metro. stress toy, or whatever you can imagine. Bring out your o Creating Sustainable Landscapes creativity with these durable, versatile, eco-friendly LIQUID h CARDBOARD vases that can be transformed into a myriad from the executive director 8 In an interview, landscape architect Len Hopper discusses s his profession’s inherent commitment to sustainability and of shapes for a variety of uses in your home.
    [Show full text]
  • Robert Indiana
    ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art.
    [Show full text]
  • The Things They've Done : a Book About the Careers of Selected Graduates
    The Things They've Done A book about the careers of selected graduates ot the Rice University School of Architecture Wm. T. Cannady, FAIA Architecture at Rice For over four decades, Architecture at Rice has been the official publication series of the Rice University School of Architecture. Each publication in the series documents the work and research of the school or derives from its events and activities. Christopher Hight, Series Editor RECENT PUBLICATIONS 42 Live Work: The Collaboration Between the Rice Building Workshop and Project Row Houses in Houston, Texas Nonya Grenader and Danny Samuels 41 SOFTSPACE: From a Representation of Form to a Simulation of Space Sean tally and Jessica Young, editors 40 Row: Trajectories through the Shotgun House David Brown and William Williams, editors 39 Excluded Middle: Toward a Reflective Architecture and Urbanism Edward Dimendberg 38 Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology Robert Mangurian and Mary-Ann Ray 37 Pandemonium: The Rise of Predatory Locales in the Postwar World Branden Hookway, edited and presented by Sanford Kwinter and Bruce Mau 36 Buildings Carios Jimenez 35 Citta Apperta - Open City Luciano Rigolin 34 Ladders Albert Pope 33 Stanley Saitowitz i'licnaei Bell, editor 26 Rem Koolhaas: Conversations with Students Second Editior Sanford Kwinter, editor 22 Louis Kahn: Conversations with Students Second Edition Peter Papademitriou, editor 11 I I I I I IIII I I fo fD[\jO(iE^ uibn/^:j I I I I li I I I I I II I I III e ? I I I The Things They've DoVie Wm.
    [Show full text]
  • A Field Guide to Gas Stations in Texas
    Historical Studies Report No. 2003-03 A Field Guide to Gas Stations in Texas By W. Dwayne Jones A Field Guide to Gas Stations in Texas by W. Dwayne Jones Prepared For Environmental Affairs Division Historical Studies Report No. 2003-3 Prepared by Knight & Associates October 2003 A Field Guide to Gas Stations in Texas Copyright © 2003 by the Texas Department of Transportation (TxDOT) All rights reserved. TxDOT owns all rights, title, and interest in and to all data and other information developed for this project. Brief passages from this publication may be reproduced without permission provided that credit is given to TxDOT and the author. Permission to reprint an entire chapter or section, photographs, illustrations, and maps must be obtained in advance from the Supervisor of the Historical Studies Branch, Environmental Affairs Division, Texas Department of Transportation, 118 East Riverside Drive, Austin, Teas, 78701. Copies of this publication have been deposited with the Texas State Library in compliance with the State Depository requirements. For further information on this and other TxDOT historical publications, please contact: Texas Department of Transportation Environmental Affairs Division Historical Studies Branch Lisa J. Hart, Supervisor Historical Studies Report No. 2003-3 Bruce Jensen, Series Editor Editing and production of this report was directed by Knight & Associates 3470 Jack C. Hays Trail Buda, Texas 78610 ISBN 1-930788-51-7 A Field Guide to Gas Stations in Texas Table of Contents Introduction . 1 Looking at Gas Stations . 11 1910-1920: Drive-Up Gas Stations . 23 1920-1930: Full Service / Corporate Identification Gas Stations . 33 1930-1940: Machine Made / Streamlined – The Depression Era .
    [Show full text]
  • VSBA Bibliography – Writings by Robert Venturi
    VSBA Bibliography – Writings by Robert Venturi 1950 “Context in Architectural Composition: M.F.A. Thesis, Princeton University,” in Iconography and Electronics upon a Generic Architecture. A View from the Drafting Room, Cambridge, Mass.: MIT Press, 1996, pp. 333-374. (Robert Venturi’s MFA thesis) 1952 Letter to the Editor, The Architectural Review, August 1952. (Regarding the rear facades of the demolished Pennsylvania Railroad Station) 1953 "The Campidoglio: A Case Study," The Architectural Review 113, May 1953, pp. 333-334. (Reprinted in A+U, December 1981, p. 12 [in Japanese] and p. 195 [in English.]) 1960 "Project for a Beach House," Architectural Design, November 1960. 1961 "Weekend House," Progressive Architecture, April 1961, pp. 156-157. 1965 "A Justification for a Pop Architecture," Arts and Architecture, April 1965, pp. 22. (Also in Les Années Pop, 2001. - Biblio A) "Complexity and Contradiction in Architecture," Perspecta 9-10, 1965, pp. 17-56. (Extract) 1966 Complexity and Contradiction in Architecture, New York: Museum of Modern Art and Graham Foundation, 1966. (Translated into Japanese, 1969; Spanish, 1972; French, 1976, 1996 -- 2 editions; Serbo-Croatian, 1983; German; Greek; Italian; Chinese; Hungarian; Czech, 2001/2003 (Samizdat); Russian; Turkish; Portuguese; Korean, 2004; Polish; Urdu; Farsi; Finnish, 2006) 1967 "Selection from: Complexity and Contradiction in Architecture," Zodiac 17, 1967, pp. 123- 126. "Three Projects: Architecture and Landscape, Architecture and Sculpture, Architecture and City Planning," Perspecta 11, 1967, pp. 103-106. "Trois batiments pour une ville de l'Ohio," L'Architecture d'Aujourd'hui, December 1967- January 1968, pp. 37-39. B - 1 VSBA Bibliography – Writings by Robert Venturi 1968 "A Bill-Ding Board Involving Movies, Relics and Space," Architectural Forum, April 1968, pp.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • “The Significance of A&P Parking Lots, Or Learning from Las Vegas”
    “The Significance of A&P Parking Lots, or Learning from Las Vegas” from Learning from Las Vegas (1972) Robert Venturi and Denise Scott Brown Editors’ Introduction This early version of Learning from Las Vegas has become a classic of postmodern design theory. The essay inflamed the design cognoscenti of the time with their assertions that the urbanism of the Vegas Strip should be valued for its richness of communication, its representation of everyday consumer values, and its example as a truly representative American urbanism (more so than the top-down minimalist urbanism and architecture that was under critical fire at that time). Written in the early 1970s, and later revised as a larger book with colleague Steven Izenour, Venturi and Scott Brown assert that the semiotic truthfulness of Las Vegas is implicitly American – its signage, decorated casinos, and entertainment-oriented design. The American urban arterial, as illustrated through the example of Las Vegas, is as notable for its lack of pedigree as it is for its consumer/vehicle functionalism. With a good degree of dry humor in considering this street phenomenon on par with traditional urbanism, Venturi and Scott Brown forced the design community to address their discon- nect with the way in which the American city was being built. As part of their strategy, they suggest that the spaces of Las Vegas are comparable to both a Roman piazza (with respect to the enclosure qualities of the Strip itself), and the landscape of Versailles (with respect to the ubiquitous A&P parking lot). While their assertions often sound both ridiculous and grandiose, particularly for those who value the usual suspects of urban design worship (the well-enclosed plaza, the boulevard, the pedestrian qualities of compact villages), Learning from Las Vegas has become more pertinent as time has passed.
    [Show full text]
  • The Athenæum of Philadelphia
    THE ATHENÆUM OF PHILADELPHIA 198th Annual Report 2012/2013 Cover: Perspective Aerial View of Centennial Exhibition (detail), Benjamin Linfoot, 1876. Ink on cartridge paper. Athenæum purchase, 2013. THE ATHENÆUM OF PHILADELPHIA 198th Annual Report Fiscal Year 2012/2013 © 2014 The Athenæum of Philadelphia 219 S. 6th St. Philadelphia, PA 19106-3794 P: 215-925-2688 F: 215-925-3755 www.PhilaAthenaeum.org www.facebook.com/PhilaAthenaeum Design and layout by Michael J. Seneca Graphics by The Regional Digital Imaging Center at The Athenæum of Philadelphia BOARD OF DIRECTORS (2012/2013) Lea Carson Sherk, President Robert E. Linck, Vice-President William M. Davison, 4th, Treasurer Sandra L. Tatman, Ph.D., Secretary Frank G. Cooper, Esq. Joanne R. Denworth, Esq. Gay P. Gervin Francis R. Grebe Penelope McCaskill Hunt Steven B. King, Esq. Hyman Myers, FAIA Shaun F. O’Malley Satoko I. Parker, Ph.D. Charles C. Savage Marjorie P. Snelling Maria M. Thompson John C. Tuten, Jr., Esq. Christina T. Webber DIRECTORS EMERITI Nicholas Biddle, Jr. John Otto Haas James F. O’Gorman, Ph.D. 1 STAFF Sandra L. Tatman, Ph.D., Executive Director Eileen M. Magee, Assistant Director Jim Carroll, Imaging Specialist, Regional Digital Imaging Center Jasmine Clark, Receptionist Rebecca Daniels, Receptionist Denise Fox, Conservation Specialist Susan Gallo, Receptionist (Retired) Brittany Koch, Membership Secretary Bruce Laverty, Gladys Brooks Curator of Architecture Jill LeMin Lee, Circulation Librarian Lois Reibach, Bibliographer Michael Seneca, Director, Regional Digital Imaging Center Louis Vassallo, Building Supervisor STAFF EMERITUS Roger W. Moss, Ph.D., Executive Director Emeritus 2 President’s Report This year, in preparation for the two hundredth anniversary of the Athenæum’s founding, your Board of Directors has made improvements to our beautiful and historic building its number one priority.
    [Show full text]
  • Oral History Interview with Denise Scott Brown 1990 Oct. 25-1991 Nov
    Oral history interview with Denise Scott Brown 1990 Oct. 25-1991 Nov. 9 Scott Brown, Denise, b. 1931 Educator, Author, Architect Philadelphia, Pa. Size: Sound recordings: 10 sound cassettes Transcript: 188 p. Collection Summary: An interview of Denise Scott Brown conducted 1990 Oct. 25-1991 Nov. 9, by Peter Reed, for the Archives of American Art. Scott Brown discusses her family background and growing up in South Africa; her education at the University of Witwatersrand, the Architectural Association, London, a summer school in Venice, sponsored by Congres Internationale d'Architecture Moderne, and the University of Pennsylvania, recalling some of her teachers (including Arthur Korn and Louis Kahn); her first husband, Robert Scott Brown, and their travels throughout Europe and experiences in Pennsylvania; her teaching philosophy and experiences at the University of Pennsylvania, Yale, Harvard, UCLA, and Berkeley; the architecture program at Penn from her perspective as a student and as a member of the faculty; meeting Robert Venturi, their work together, the firm and the difficulties encountered in the 1970s and 1980s, some of their projects such as the National Gallery, London, and the Museum of Fine Arts, Houston, and planning work; publications such as "Complexity and Contradiction," "Urban concepts," "Worm's Eye View," and "Learning from Las Vegas;" postmodern architecture; critics; and her experiences as a woman in the field. Biographical/Historical Note: Denise Scott Brown (1931- ) is an architect of Philadelphia, Pa. This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
    [Show full text]